Now this is more like it
Totally pulled together. Class act. Doing what comes naturally. Well played!
Call it what you will, but, fair is fair: this is great stuff.
Totally pulled together. Class act. Doing what comes naturally. Well played!
Call it what you will, but, fair is fair: this is great stuff.
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“Most singers should dream about being able to sing as well as Bing Crosby”
Well his Violetta was maybe underestimated, but his Carmen phoned in and don’t get me started on his Salome….
“But, too often, she sings inappropriate roles”
That’s actually not true. If you go to the Met Database, you’ll see that in her 16 year career at the Met she’s sung almost exclusively Mozart, Strauss and Massenet. The only bel canto role in that time was the Pirata four years ago (also the Lucrezia outside the Met).
The only other Italian roles she sings are Violetta and Desdemona, and IMO Desdemona is one of her best roles. She sings no Puccini at all.
So there seems to me to be a sort of hysterical overreaction to her singing the wrong rep.
And, as far as the examples of bad taste you mention. Well, it’s crossover. I think we can all think of some pretty bad crossover down through the ages.
Yes, there has been a lot of bad crossover– Nilsson’s “I Cout Haf Danzd All Night” and Miss Price’s historically awful ‘What I Did For Love’ are as bad in their own way as anything Miss Fleming has done.
But that doesn’t excuse Miss Fleming or her tendency to bring that mess with her to a Traviata performance.
Miss Fleming is the girl with curl in the middle of her forehead. Listen to the other Proms excerpt on YouTube where she sings the ‘Ich ging zu ihn’ from Korngold’s ‘DWdHeliane’. No swooning, sighing or crooning… if one can sing this way, why would one choose to do otherwise?
I agree with La C about the rep that is good for Miss F; and would add that there’s nothing wrong with being very good at one thing– it’s a hell of a lot more than most people can claim.
Meretrice I. d’Oscena